There are those people in your life who you have yet to meet, whose words reached out to you from worn pages of a friend’s book you found as an interesting note on the floor. The words that rang through your Self like the gong of a bell echoing off the rocks of your foundation. So that nothing else will ever sound quite the same. Their printed voice changed the songs you sing and the levels that you hear. Sometimes, in the purest of luck, you get to meet this person. You get to ask them how they are doing today. You get to listen to their voice speak like music playing notes right off the page and you get to sit down and ask them questions. If I were you, or maybe, if you were me… That person would be, Derrick Jensen and this, is the luckiest of days.
“Many Indians have told me that the most basic difference between Western and indigenous ways of being is that Westerners view the world as dead, and not as filled with speaking, thinking, feeling subjects as worthy and valuable as themselves.”
― Derrick Jensen
“We were not meant for this. We were meant to live and love and play and work and even hate more simply and directly. It is only through outrageous violence that we come to see this absurdity as normal, or to not see it at all. Each new child has his eyes torn out so he will not see, his ears removed so he will not hear, his tongue ripped out so he will not speak, his mind juiced so he will not think, and his nerves scraped so he will not feel. Then he is released into a world broken in two: others, like himself, and those to be used. He will never realize that he still has all of his senses, if only he will use them. If you mention to him that he still has ears, he will not hear you. If he hears, he will not think. Perhaps most dangerously of all, if he thinks he will not feel. And so on, again.”
― Derrick Jensen, The Culture of Make Believe
“So many indigenous people have said to me that the fundamental difference between Western and indigenous ways of being is that even the most open-minded westerners generally view listening to the natural world as a metaphor, as opposed to the way the world really is. Trees and rocks and rivers really do have things to say to us.”
― Derrick Jensen, What We Leave Behind
Intriciate laser cutouts in the “HYBYCOZO” installation by Yelena Filipchuk and Serge Beaulieu create dancing shadows on gallery walls
Immersive art from a famed desert festival in the American West has swept into Washington, infusing the buttoned-up US capitol with countercultural spirit.
“No Spectators: The Art of Burning Man,” which opens Friday at the Smithsonian’s Renwick Gallery, celebrates the annual late-summer gathering that sees a temporary city of some 75,000 people spring up in Nevada’s Black Rock Desert.
For a single week, massive experiential art installations tower over the dusty metropolis before Burning Man participants torch many of the works, including a giant wooden statue of a man, as a ritual embracing decommodification and temporality.
Thought it is perhaps best known for its bacchanalian atmosphere favoring sex and drugs, the annual event that started small in 1986 has evolved into a serious cultural and artistic movement, said the Renwick’s crafts curator Nora Atkinson, who spearheaded the show.
There are currents that flow between all facets of Science, History, Nature, and Humanity. These currents are the key to unlocking the next level of our collective understanding. Please join us on this journey as we wake up in real time to the Electric Universe.
Heather Stargazer is an author, artist, and Galaxy Class Stargazer who hales from somewhere near the 42nd parallel. Her work is the product of the inspirational spaces within which we all reside. Working with several dedicated members and organizations of the Electric Universe community, she has invited us to explore these new realms of electromagnetic possibilities and connect to a whole new understanding of what has come before us and where we are going in the future.
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When we Look with our Eyes and not with our Mind we can See that Space looks very different from what we Think it is. In Our Space Parallel Lines meet at Infinity.
Around 1400 during the Renaissance Painters started to look at Space with their own Eyes and discovered the Rules of Perspective Drawing.
Between 1600-1800 Perspective Theory changed from a Theory of Art to a Theory of Mathematics called Projective Geometry.
It took 400 Years before a few Mathematicians realized that Projective Geometry was the Foundation of Mathematics and it took another 100 years before Projective Geometry started to influence Physics.
In 1908 Hermann Minkowski discovered that Einstein’s Theory of Special Relativity could be analysed using Projective Geometry. Minkowski created a 4D Space-Time Metric Geometry in which he added one Time Dimension.
Many experiments now show that 4D-Space-Time is not sufficient to incorporate what Time Really is.
Well, this is what I’ve heard. Among the ancient gods of
Naucratis in Egypt there was one to whom the bird called the ibis is
sacred. The name of that divinity was Theuth and it was he who first
discovered number and calculation, geometry and astronomy, as well as the games of checkers and dice, and, above all else, writing.
Now the king of all Egypt at that time was Thamus, who lived in the
great city in the upper region that the Greeks call Egyptian Thebes; Thamus they call Ammon. Theuth came to exhibit his arts to him and urged him to disseminate them to all the Egyptians. Thamus asked him about the usefulness of each art, and while Theuth was explaining it, Thamus praised him for whatever he thought was right in his explanations and criticized him for whatever he thought was wrong.
The story goes that Thamus said much to Theuth, both for and against
each art, which it would take too long to repeat. But when they came to
writing, Theuth said: “0 King, here is something that, once learned, will
make the Egyptians wiser and will improve their memory; I have discovered a potion for memory and for wisdom.”
Thamus, however, replied: “0 most expert Theuth, one man can give birth to the elements of an art, but only another can judge how they can benefit or harm those who will use them. And now, since you are the father of writing, your affection for it has made you describe its effects as the opposite of what they really are.
In fact, it will introduce forgetfulness into the soul of those who learn it: they will not practice using their memory because they will put their trust in writing, which is external and depends on signs that belong to others, instead of trying to remember from the inside, completely on their own.
You have not discovered a potion for remembering. but for reminding; you provide your students with the appearance of wisdom, not with its reality. Your invention will enable them to hear many things without being properly taught, and they will imagine that they have come to know much while for the most part they will know nothing. And they will be difficult to get along with, since they will merely appear to be wise instead of really being so.”
Socrates, you’re very good at making up stories from Egypt or wherever else you want!
But, my friend, the priests of the temple of Zeus at Dodona say that the first prophecies were the words of an oak. Everyone who lived at that time, not being as wise as you young ones are today, found it rewarding enough in their simplicity to listen to an oak or even a stone, so long as it was telling the truth, while it seems to make a difference to you, Phaedrus, who is speaking and where he comes from. Why, though, don’t you just consider whether what he says is right or wrong?